National characteristics in

Neo Science Peer Reviewed Journal 
Volume 6, Feb. 2023 
ISSN (E): 2949-7701 
www.neojournals.com 
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This work is published under CC BY-NC-ND 4.0 
background, closeness and distance in volumetric sounding. The vertical coordinate of the 
invoice is determined by the register location of the components. Horizontal is the 
description and development of the invoice related to time. Different types of structures are 
known in history - that is, the general principles of the structure of the invoice. They differ 
from each other in the number of votes and their functional ratio. 
Particular attention should be paid to the monody structure. Its feature is not a single voice 
that is used everywhere, as a sheet. Monody is a single line development of the texture 
horizontally (in some cases it may not be strictly monophonic). 
Monody is primarily a type of thinking. In it, verticality and depth are subordinated to the 
supposedly horizontal coordinate and dissolve in it. 
Heterophony is the presence of vertically uncoordinated options. The modern interpretation 
is an uncoordinated superimposition of functionally different texture components. 
Considering the three-level flow of time in a musical work, E. Nazaykinsky notes the short-
term nature of direct auditory impressions. It is this minimal amount of time that is 
associated with very bright and detailed impressions. This level is called subject - sound or 
phonic. It shows the vertical and depth parameters of the texture at that moment. 
Development of "textured reality" horizontally, in the flow of time. The texture obeys the 
logic of the composition, it becomes the main factor to "explain" or, on the contrary, 
"cover". 
The longer the work lasts, the more likely the texture patterns will change. In most cases, 
the revitalization and complexity of invoice functions is increasing and is observed in the 
peak sections. At the borders of the figure, the textural contrast increases dramatically. The 
constancy of the invoice functions is a manifestation of the classical arrangement of musical 
thought, a guarantee of a clear separation of sections. On the contrary, the variability of the 
functions of the texture is embodied in the fluidity of the form, the creation of complex 
proportions of voices, and the individualization of the texture. 
Another means of achieving nationalism in music is the rhythmic method. The history of 
rhythm status goes back to the times when people started creating musical works. It should 
also be noted that information about the historical development of statuses in Eastern 
nations up to the Pharaonic era has not been preserved to us. 
The early forms of musical works were also very simple in their rhythms. Even the range 
of some tunes was very narrow, two or three steps. According to V. M. Belyaev, a famous 
scientist who has worked effectively in the field of oriental music, the first forms of musical 
works of Uzbeks and Tajiks have come down to us with ritual songs, children's songs, 
mother's songs, and crying instruments. This opinion is close to the truth. It can be said that 
the boychechak, ramazan, mother's alla, a series of epics and songs told by epic poets, yor-
yor songs, which have come down to us, belong to the early periods of music culture in 
terms of their simple intonation and rhythmic features. 
According to written sources, the first musical rhythm created was called "Zarbi qadim" 
("Ancient beat"). This rhythm was derived from the beating of a human vein and was in the 

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